The Musical Work

Reality or Invention?

Edited by Michael Talbot

£75.00
- +

ISBN: 9780853238256

Publication: May 1, 2000

Series: Liverpool Music Symposium 1

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Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in these essays, which examine a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.

Notes on Contributors Introduction Michael Talbot 1 Some Thoughts on the Work in Popular Music David Horn 2 Intertextuality and Hypertextuality in Recorded Popular Music Serge Lacasse 3 Work-in-(g) Practice: Configuration of the Popular Music Intertext Richard Middleton 4 Works and Recordings: The Impact of Commercialism and Digitalisation Catherine Moore 5 The Practice of early Nineteenth-Century Pianism Jim Samson 6 Looking Back at Ourselves: The Problem with the Musical Work-Concept Reinhard Strohm 7 ‘The Work’: An Evaluative Charge Philip Tagg 8 The Work-Concept and Composer-Centredness Michael Talbot 9 The Musical Artwork and its Materials in the Music and Aesthetics of Busoni John Williamson 10 Re-composing Schubert James Wishart 11 ‘On the Problems of Dating’ or ‘Looking Backward and Forward with Strohm’ Lydia Goehr Index of Musical Compositions and Collections Index of Personal Names

Format: Hardback

Size: 239 x 163 mm

268 Pages

ISBN: 9780853238256

Publication: May 1, 2000

Series: Liverpool Music Symposium 1

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